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Toronto International Film Festival Unveils Galas and Special Presentations

One of North America’s biggest annual film events released details of its lineup Tuesday morning including 17 Galas and 45 “Special Presentations” that will screen in the 37th Toronto International Film Festival in September. Festival CEO and Director Piers Handling as well as TIFF Artistic Director Cameron Bailey announced the lineup this morning in Toronto at a live event about this year’s festival, which includes 38 world premieres. As revealed earlier , Looper with Joseph Gordon-Levitt and Bruce Willis will open the festival. Debuts from directors worldwide including Andrew Adamson, Ben Affleck, David Ayer, Maiken Baird, Noah Baumbach, J.A. Bayona, Stuart Blumberg, Josh Boone, Laurent Cantet, Sergio Castellitto, Stephen Chbosky, Lu Chuan, Derek Cianfrance, Costa-Gavras, Liz Garbus, Dustin Hoffman, Rian Johnson, Neil Jordan, Baltasar Kormákur, Shola Lynch, Deepa Mehta, Roger Michell, Ruba Nadda, Mike Newell, François Ozon, Sally Potter, Robert Pulcini & Shari Springer Berman, Eran Riklis, David O. Russell, Tom Tykwer & Andy Wachowski & Lana Wachowski, Margarethe von Trotta, Joss Whedon and Yaron Zilberman are in the lineup. TIFF takes place September 6 – 16. Today’s lineup follows. More details from the festival will be announced the coming weeks… “We are thrilled to announce so many exciting and prestigious films today, with many more to follow,” said Handling in a statement. “This year’s Festival is looking particularly strong with bold, adventuresome work coming from established and emerging filmmakers.” “This year we present our most diverse Gala programme to date with films from Japan, China, India, the United Kingdom, Denmark, Italy, USA and Canada,” added Bailey. “Toronto’s red carpet is a global one and we’re excited to welcome some of the world’s best filmmakers and greatest stars to Canada.” Toronto lineup details provided by the festival : Galas : Looper by Rian Johnson, USA World Premiere (Opening Night Film) In the futuristic action thriller Looper , time travel will be invented – but it will be illegal and only available on the black market. When the mob wants to get rid of someone, they will send their target 30 years into the past, where a “looper” – a hired gun, like Joe (Joseph Gordon-Levitt) – is waiting to mop up. Joe is getting rich and life is good… until the day the mob decides to “close the loop,” sending back Joe’s future self (Bruce Willis) for assassination. Also starring Emily Blunt, Paul Dano and Jeff Daniels. A Royal Affair by Nikolai Arcel, Denmark/Sweden/Czech Republic/Germany North American Premiere A Royal Affair is a gripping tale of brave idealists who risk everything in their pursuit of freedom for the people. Above all, it is the story of a passionate and forbidden romance that changed an entire nation. Starring Mads Mikkelsen and Alicia Vikander. Argo by Ben Affleck, USA World Premiere When militants storm the U.S. embassy in 1979 Tehran, six Americans manage to slip away. Knowing it’s only a matter of time before they are found, a CIA “exfiltration” specialist comes up with a plan to get them out of the country: a plan so incredible, it could only happen in the movies. Starring Ben Affleck, Bryan Cranston, John Goodman and Kyle Chandler. The Company You Keep by Robert Redford, USA North American Premiere Jim Grant (Robert Redford), a civil rights lawyer and single father, must go on the run when a brash young reporter (Shia LaBeouf) exposes his true identity as a former 1970s radical fugitive wanted for murder. Sparking a nationwide manhunt, Grant sets off on a cross-country journey to clear his name. Also starring Susan Sarandon, Terrence Howard, Anna Kendrick, Stanley Tucci, Chris Cooper and Nick Nolte. Dangerous Liaisons by Hur Jin-ho, China North American Premiere As war looms in Shanghai, glamorous libertine Mo Jietu (Cecilia Cheung) runs into playboy Xie Yifan (Dong-gun Jang), an ex-boyfriend who’s never stopped loving her. She persuades him to play a treacherous game: Xie must seduce the innocent and naïve Du Fenyu (Zhang Ziyi) and then dump her. But the game becomes increasingly dangerous as Xie falls in love with Du, leading them all to tragic and shocking consequences. English Vinglish by Gauri Shinde, India World Premiere Money, fame and a knowledge of English. In India, these 3 factors play a huge role in how society judges an individual. English Vinglish is the story of Shashi, a woman who does not know English and in turn is made to feel insecure by her family and society at large. The film is the lighthearted yet touching and transformational journey of Shashi. Circumstances make her determined to overcome this insecurity, master the language, teach the world a lesson on the way to becoming a self assured and confident woman. This film marks the comeback of India’s biggest female star, Sridevi. Free Angela & All Political Prisoners by Shola Lynch, USA/France World Premiere Legendary radical activist Angela Davis’ words and actions made her a revolutionary icon in the 1960s. The documentary Free Angela & All Political Prisoners tells the dramatic story of how a young philosophy professor’s social justice activism implicates her in the botched kidnapping attempt of a judge that ends in bloody shootout. Newsweek asks: what would prompt Angela Davis, “the daughter of the black bourgeoisie, to take a desperate turn to terrorism?” Great Expectations by Mike Newell, United Kingdom World Premiere Based on the Charles Dickens classic. Orphan Pip rises from humble beginnings thanks to a mysterious benefactor. Moving through London’s class-ridden world as a gentleman, Pip uses his new status to pursue Estella, a beautiful, heartless heiress he’s always loved. The shocking truth behind his fortune will have devastating consequences for everything he holds dear. Starring Holliday Grainger, Ralph Fiennes, Helena Bonham Carter and Jeremy Irvine. Hyde Park on Hudson by Roger Michell, United Kingdom World Premiere In June 1939, President Franklin Delano Roosevelt (Academy Award® nominee Bill Murray) and his wife Eleanor (Olivia Williams) host the King and Queen of England (Samuel West and Olivia Colman) for a weekend at the Roosevelt home at Hyde Park on Hudson in upstate New York. With Britain facing imminent war with Germany, the Royals are desperately looking to FDR for support. But international affairs must be juggled with the complexities of FDR’s domestic establishment. Seen through the eyes of Daisy (Academy Award nominee Laura Linney), Franklin’s neighbour and intimate, the weekend will produce not only a special relationship between two great nations, but also a deeper understanding of the mysteries of love and friendship. Inescapable by Ruba Nadda, Canada World Premiere One afternoon, on a typical day at work, Adib is confronted with devastating news: His eldest daughter, Muna, has gone missing in Damascus. Now Adib, who has not been back in over 30 years, must return to Syria and deal with his secret past in order to find her. Inescapable is a thriller about a father’s desperate search for his daughter and the chaos of the Middle East he left behind. Starring Alexander Siddig, Marisa Tomei and Joshua Jackson. Jayne Mansfield’s Car by Billy Bob Thornton, USA/Russia North American Premiere Jayne Mansfield’s Car is a funny, poignant and searching look at three generations of fathers and sons in the South during the tumultuous ‘60s. It follows the family’s heartfelt — and sometimes hilarious — struggles with long-held resentments, secrets, the memories of war, and how life, death and loss shaped them all. Starring Robert Duvall, Kevin Bacon, Billy Bob Thornton and John Hurt. Love, Marilyn by Liz Garbus, USA World Premiere Nearly 50 years after her death, two boxes of Marilyn Monroe’s private writings and musings were discovered in the home of her acting coach. These papers, brought to life in this innovative documentary film by some of our contemporary icons and stars, give us a new understanding of Monroe — revealing her carefully guarded inner life. Featuring Elizabeth Banks, Lindsay Lohan, Evan Rachel Wood, Ben Foster, Uma Thurman, Paul Giamatti, Viola Davis, Jeremy Piven, Ellen Burstyn, Adrien Brody, Marisa Tomei and Glenn Close. Midnight’s Children by Deepa Mehta, Canada/ United Kingdom World Premiere “Born in the hour of India’s freedom. Handcuffed to history.” Midnight’s Children is an epic film from Academy Award-nominated director Deepa Mehta, based on the Booker Prize-winning novel by Salman Rushdie. At the stroke of midnight on August 15, 1947, as India proclaims independence from Great Britain, two newborn babies are switched by a nurse in a Bombay hospital. Saleem Sinai, the illegitimate son of a poor Hindu woman, and Shiva, the offspring of wealthy Muslims, are fated to live the destiny meant for each other. Their lives become mysteriously intertwined and are inextricably linked to India’s whirlwind journey of triumphs and disasters. Starring Satya Bhabha, Shahana Goswami, Rajat Kapoor, Seema Biswas, Shriya Saran, Siddharth, Ronit Roy, Rahul Bose, Kulbushan Kharbanda, Soha Ali Khan, Anita Majumdar, Zaib Shaikh and Darsheel Safary. The Reluctant Fundamentalist by Mira Nair, USA North American Premiere Based on the best-selling novel of the same title, that was translated into 25 languages, The Reluctant Fundamentalist is a riveting international political thriller that follows the story of a young Pakistani man chasing corporate success on Wall Street, who ultimately finds himself embroiled in a conflict between his American dream, a hostage crisis and the enduring call of his family’s homeland. Starring Riz Ahmed, Kate Hudson, Kiefer Sutherland and Liev Schreiber. Silver Linings Playbook David O. Russell, USA World Premiere An intense, loving, emotional and funny family story from The Fighter director, David O. Russell. Bradley Cooper and Jennifer Lawrence find themselves partners in a secret arrangement to rebuild their broken lives. Robert De Niro yearns to get closer to his son (Cooper), as he tries to keep the family afloat with his compulsive bookmaking. Jacki Weaver and Chris Tucker co-star. Thermae Romae by Hideki Takeuchi, Japan North American Premiere Ancient Roman architect Lucius (Hiroshi Abe) is too serious. His inability to keep up with the fast-moving times costs him his job. When a friend takes the dejected Lucius to the public bathhouse to cheer him up, Lucius accidentally slips through time and resurfaces in a modern-day public bath in Japan. There, he meets aspiring young manga artist Mami (Aya Ueto), along with others of the “flat-faced clan.” Shocked by the many inventive aspects of Japan’s bathing culture, Lucius returns to ancient Rome and garners tremendous attention when he implements these novel ideas back in Rome. As he time-slips back and forth between ancient Rome and modern-day Japan, Lucius’ reputation as the ingenious, new bath architect begins to grow. Twice Born by Sergio Castellitto, Italy/Spain/Croatia World Premiere Gemma visits Sarajevo with her son, Pietro. Sixteen years ago they escaped the war-torn city while the boy’s father remained behind and later died. As she tries to repair her relationship with Pietro, a revelation forces Gemma to face loss, the cost of war and the redemptive power of love. Starring Penelope Cruz and Emile Hirsch. Special Presentations : A Few Hours of Spring by Stéphane Brizé, France North American Premiere Forty-eight-year-old Alain Evrard is obliged to return home to live with his mother. This situation causes all the violence of their past relationship to rise to the surface. Alain then discovers that his mother has a fatal illness. In the last months of her life, will they finally be capable of taking a step toward each other? Anna Karenina by Joe Wright, United Kingdom International Premiere The third collaboration of Academy Award nominee Keira Knightley with acclaimed director Joe Wright, following the award-winning box office successes Pride & Prejudice and Atonement, is a bold, theatrical new vision of the epic love story, adapted from Leo Tolstoy’s timeless novel by Academy Award winner Tom Stoppard (Shakespeare in Love). The story powerfully explores the capacity for love that surges through the human heart. As Anna (Knightley) questions her happiness and marriage, change comes to surround her. Also starring Jude Law and Aaron Taylor-Johnson.

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Toronto International Film Festival Unveils Galas and Special Presentations

Warner Bros Expected to Decide Today Whether to Move Release Date for Gangster Squad

Gangster Squad  does not look like it will be coming to a theater near you any time soon. In the wake of the mass shooting at a midnight screening of The Dark Knight Rises in Aurora, Colo., an industry insider tells Movieline that Warner executives are expected to decide today whether to reschedule the release of the Ruben Fleischer-directed film about the L.A. police departments war against the organized crime in the 1940s and 50s. And the insider says odds the picture–which stars Ryan Gosling, Sean Penn and Josh Brolin–will keep its Sept.7 release date are pretty long. EW.com reported that  the studio pulled the Gangster Squad trailer, which had played before some screenings of TKDR  film and ordered it re-cut because of a scene in which mobsters fire machine guns at a crowd of moviegoers. The site also noted that the scene, which is pivotal to the plot, would either be cut or “at least extensively reworked.” That means script re-writes and re-shoots, and our insider says “a lot depends on the how quick the fix can be made.” Given that the film’s original release date is a little over a month away,  the source says it’s looking increasingly  likely that the release date will be moved.

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Warner Bros Expected to Decide Today Whether to Move Release Date for Gangster Squad

Peter O’Toole’s Drunkest Hits

It’s not as though Peter O’Toole died this week when he announced his retirement from acting, but contemplating the Irish great’s absence from stage and screen alike nevertheless yields a bittersweet fog of remembrance through which our hearts and souls must now navigate. I think they call it a “hangover.” Thankfully, there is video (to say nothing of the gloriously soggy moment in time, above, when Roger Ebert and Jason Patric found themselves supporting the legend). For my money, nothing beats his epic entrance on a 1995 episode of The Late Show , where David Letterman welcomed O’Toole and a thirsty camel named Topsy to the stage in London. What happened next put Lawrence of Arabia to shame. Previously, during a drunken stint on Johnny Carson’s Tonight Show , O’Toole had confessed to… another drunken stint on The Tonight Show . And who will ever forget (ahem) O’Toole’s celebrated performance as the sodden title character in Keith Waterhouses’s play Jeffrey Bernard is Unwell ? (Dialogue NSFW, though under the circumstances what could possibly go wrong with slowly turning your chair to your boss and/or any other objecting parties and woozily sputtering, “It’s Peter O’Fucking Toole . Listen!”) Here he is duetting with — and tackling, naturally — his late, lamented contemporary Richard Harris ahead of a rugby match in Ireland. It’s not quite O’Toole, but back on The Late Show in 2011, you can practically taste the sauce in Ryan Gosling’s tale of confronting the actor on Oscar night a few years earlier. And just for fun, here’s Bill Hader helping to cement O’Toole’s legacy, SNL style: Oh! And he acted in a few things en route to becoming the losingest (0-for-8, ouch) acting nominee in the history of the Academy Awards. He did, however, deliver a reasonably sober acceptance speech for the honorary Oscar he received (despite trying to refuse ) in 2003. By way of our partners at ENTV, here’s a run through O’Toole’s screen highlights. Happy retirement, Peter! We’ll send whiskey. Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

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Peter O’Toole’s Drunkest Hits

Robert Pattinson Dishes on Typecasting, Adele, Superheroes and Cosmopolis

Robert Pattinson has a lot riding these days. He traveled to Cannes for the world premiere of David Cronenberg’s Cosmopolis in which he plays a multimillionaire on a 24-hour odyssey through New York City (mostly in his limo) and he stars in Declan Donnellan and Nick Ormerod’s Bel Ami in which he portrays a man grabbing power by manipulating Paris’ most wealthy women. And of course there was his most recent annual win for Best Kiss at the MTV Movie Awards last weekend (he and Twilight co-star Kristen Stewart have taken the “prize” for four years straight – those sexy things). Pattinson spoke with CBC host George Stroumboulopoulos about his latest pursuits and more. The actor talks about Twilight type-casting, how Ryan Gosling inspired him, his feelings about Heath Ledger and his run-in with singer Adele. Cosmopolis opens in Cronenberg’s native Canada in the next few days (it is slated for the U.S. this year) while Bel Ami will debut Stateside this weekend. (Video of the Robert Pattinson George Stroumboulopoulos Tonight interview is below and airs Thursday, June 7, at 11:05 pm on CBC television – Interview re-printed with permission by CBC). You know, post- Twilight franchise , you were trying to go down different roads? Was this legitimately part of your planning? Robert Pattinson : This was not part of the plan at all. I just thought I was totally oversaturated everywhere, I wanted to do little tiny parts or maybe no parts at all. I got this three weeks before I was finishing the last Twilight movie, and I was really, really determined to find ensemble pieces or anything small just so I didn’t have to be in everybody’s face and annoying everyone. And then this thing came up. Is this a new experience for you though, to watch your film back and go, oh wait a minute, how do I promote this movie? RP: Ah, completely. It reminded me, I watched this interview with Ryan Gosling once, and he said when he did The Believer a few years ago, and people were saying – cause he’d done Young Hercules for three or four seasons – and then he did The Believer and everybody was asking about his craft. And it’s the most, most confusing thing. I was in Cannes doing these interviews, and I was really fighting to not look pretentious for years, and someone gives you one inch of the possibility of being pretentious, and you’re like grabbing it so hard, going around being the biggest douchebag. And now I’ve kind of reined it in again. The one thing I imagine that you’re dealing with is aside from your close circle of friends — actual humanity, actual human conversations, the connections we all crave as a person, it’s harder and harder for you to find, isn’t it? RP: Yeah, but I just remember, I think I was pretty similar before. Like I would be one of those people who was desperate to go to a party and then they go to the party and just stand in the corner with the people they came with and refuse to acknowledge that anyone else is there. So I don’t really miss anything. And you kind of, you have all these fantasies if I wasn’t famous I’d meet all these random people in the street all the time. But you don’t meet random people in the street. Most of the time you’re trying to avoid everybody even if you’re not famous. Actually I had this argument with Adele, which is probably the most ridiculous thing I’ve ever said. I was saying, “you know, you can really just like reach for it,” and she was like, “you do realize I am like the biggest-selling female artist ever?” And I just for some reason just decided to get into an argument with her. How does that happen, at two o’clock in the morning somewhere? R.P. Yeah, and then waking up and kind of really, really regretting every word I said. Do you think much about the fact that when this franchise goes away, that you need that second act to your career? Do you think about that? RP:  The only thing I ever thought about was thinking, I don’t want anyone to think that I somehow got trapped by something, you know. And I don’t know if anyone really does, the general public, about Twilight – but the amount of times you get asked, “oh, are you worried about being typecast?” I’m just worried about people saying, like, “What happened to that guy?” And also, you think, you want to do something at least a little bit worthwhile with what kind of power you’ve been given, through luck. And not just keep trying to extend the same thing for as long as possible. I’m not very scared of it going away at all. If I could somehow maintain a career in which I keep making movies like Cosmopolis , than I think it would be amazing, because not very many of them are made. You know, I always thought after The Dark Knight , for instance, it makes tons and tons of money, and Heath is doing something just outside — and people understand what he’s doing, it’s not like he’s not doing something totally crazy, but it’s just slightly outside the box of what people are used to seeing, and I really thought that was going to change everything as to how the big budget movies are made. But it didn’t, at all. If every single actor wasn’t afraid of trying to do something slightly abstract and not concerned about their movie making tons and tons of money, then eventually the industry would change. But then you and other guys in your position, can you make these kinds of films, then? And not just as actors? RP: I think you can once. I don’t know how many other times. I’m desperately trying to get a superhero movie now.

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Robert Pattinson Dishes on Typecasting, Adele, Superheroes and Cosmopolis

VIDEO: How Ryan Gosling Was Carved From Stone to Save Us From Taxis and Loneliness

Another celebrity news revelation, another opportunity for the crack team at NMA to bring the story to life via crudely rendered computer animation. Thus their latest: The background on how Ryan Gosling — patron saint of NYC street-fighters and journalists wandering in front of taxis — was carved from stone to take his place among the deified cultural elite. He even saves baby animals! Who knew? Related: Hurry up, Friday. [ NMA ] Follow S.T. VanAirsdale on Twitter . Follow Movieline on Twitter .

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VIDEO: How Ryan Gosling Was Carved From Stone to Save Us From Taxis and Loneliness

VIDEO: Your Official Guide to Looking Like Ryan Gosling

“Next week I’ll teach you how to live like Ryan Gosling. This will involve you getting in a time machine, going back in time, becoming more talented than you currently are, working yourself through the ranks of Hollywood, then dating Eva Mendes.” Don’t forget about breaking up a street fight ! [via The Awl ]

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VIDEO: Your Official Guide to Looking Like Ryan Gosling

Oscar Index: It’s the Charm, Stupid

“Let’s have a moment of silence for the suffering Oscar bloggers as they enter the most trying and mortifying weeks of their labors.” Such was Glenn Kenny’s tweeted lament earlier this week — one eerily anticipating today’s latest, sanity-thrashing edition of Oscar Index. And that’s just its effect on readers! You really don’t want to see the catatonic pall saturating Movieline’s Institute for the Advanced Study of Kudos Forensics. On the other hand, we’re gonna make a fortune recycling this mounting pile of wine bottles. To the Index! The Final 9: 1. The Artist 2. The Help 3. The Descendants 4. Hugo 5. Moneyball 6. The Tree of Life 7. Midnight in Paris 8. The Daldry 9. War Horse Some shuffling in the ranks reflected little more than two things: 1) The profile boosts that certain films’ respective individual nominees received in the acting and directing categories, and 2) our arrival at the harsh depot known as Smug City — an awards-season juncture to which we return seemingly every year now, described this time around by EW ‘s Owen Gleiberman : The audience — remember them? — is no longer a very big part of the equation. I had assumed, mistakenly, that because The Help was an astonishingly big hit, and because its success sprung from the way that it clearly touched a racial-cultural nerve in people, that the movie’s organic popularity — as opposed to the heavily marketed freeze-dried quasi-popularity of The Artist — would be decisive at the Academy Awards. But all I was demonstrating was a mode of analysis about how the Oscars work that is now, more or less, completely outmoded. Seriously, you’ve heard this all before: Gleiberman goes on to contrast the populist glories of Oscar nights past (e.g. The Sting, Rocky , even creatively challenging smashes like The Silence of the Lambs ) with recent triumphs just barely removed from the art house ( No Country For Old Men and especially The Hurt Locker ) as a means of writing off The Artist’s presumed Oscar-night victory over The Help . Yet he makes supplementary points about the smash The King’s Speech (while overlooking another about the hit Slumdog Millionaire ) underscoring an even more critical factor we’ve seen consistently in this year’s Index: It’s the charm, stupid. It sounds obvious. Yet every time we look for someone new to blame for the disconnect and/or disaffection gripping the Oscars, we always manage to forget the only true currency of any value for any of these nominees. The contemporary Oscar economy runs entirely on charm. Your movie can make $1 million or $1 billion, be a polarizing scourge or smothered in plaudits and acclaim. You can place ads everywhere, send thousands of DVD screeners and engineer a fortune’s worth of publicity. But by the time nomination ballots are mailed in late December, if you haven’t found a way to charm a vote out of an Academy member, then you and your film are about as long for the awards race as Angelina Jolie is for a burger-eating contest. Steven Spielberg and War Horse , for example, couldn’t mount the glad-handing charm offensive ultimately necessary for any legitimate chance at Oscar supremacy. I mean, at least Clint Eastwood had the advantage of stars to push forth J. Edgar , but you can barely get Leonardo DiCaprio (or even Eastwood) to promote a good film, let alone a terrible one (DiCaprio wasn’t even in the right hemisphere to do so, shooting The Great Gatsby in Australia all winter), so we saw how that worked out. Among slightly better-faring films, Midnight in Paris makes up for the lack of personal charm from the absentee Woody Allen and Owen Wilson by whisking voters into its nostalgic ensemble charms. Hugo leapfrogged Midnight exercising both nostalgic ensemble charms and a passionately invested filmmaker. Tree of Life compensates for its fleeting aesthetic charms thanks in part to charming stars on the circuit for other movies with charm of their own (though, alas, maybe not enough to spare for the Big Dance). The Descendants is led by the crown prince of awards-season charm, who can only hope that King Harvey Weinstein chokes on an M&M and lets someone else reign temporarily while he flails for aid. Which brings us to The Artist and The Help . I love you, but listen closely: No one cares which you think is superior, or how predictably you ( or I ) think everything has turned out, or your personal pleas , or if you look forward to eating those Artist -themed Oscar cookies just for the metaphorical pleasure of shitting them out, or if Jean Dujardin appears in a naughty French movie poster , or whether The Help is or isn’t just a condescending pile of white-liberal-guilt piffle , or what 2011 releases you’d prefer in either film’s places as we head into awards-season’s home stretch. All that matters is whether or not the nominees’ collective principals have the stamina, timing, access and appeal to capitalize on their late-season standings, and which will extend those narratives more deeply through the media. As such, I feel like should take this opportunity to ask Emma Stone to call me there’s really no more to say about the Best Picture race as it stands today. Everyone is told by the campaigners and commentariat alike that The Artist is the film to beat — except that maybe The Help has enough underdog muscle and goodwill to surmount it in the late-going, and what if the votes are split and George Clooney or Martin Scorsese did do enough to nudge their babies up the middle? The immutable truth is simpler: We think ourselves too smart to be this helpless against their charms, and we hold that helplessness against the wrong people. Even The Daldry , which had no outwardly detectable charm reserves to speak of before nomination morning (yet, it should be noted, earned that nickname for a very Academy-friendly reason), got nominated for Best Picture — while The Girl With the Dragon Tattoo lingers in the periphery. That’s life for you in Smug City. Your money’s no good here. The Final 5: 1. Michel Hazanavicius, The Artist 2. Alexander Payne, The Descendants 3. Martin Scorsese, Hugo 4. Terrence Malick, The Tree of Life 5. Woody Allen, Midnight in Paris No charm or smugness slouch himself, Payne won a nice endorsement this week from the American Cinema Editors, who named the Descendants director their Filmmaker of the Year . Keep in mind that not so long ago this award used to go to old pros in their twilights ( Rob Reiner or Richard Donner , anybody?) before last year winding up with Christopher Nolan; if the Academy’s editors branch really did want to get behind Payne and The Descendants — whose own cutter Kevin Tent is nominated for an all-important Best Editing Oscar — then that could translate to a movement in other branches as well. Repeat: Could . (Though have you seen the Descendants box-office lately? For a movie that only 12 days ago went to 2,000 screens? Jesus Christ . I’ll bet Fox Searchlight can pack that with some charm of its own.) The Final 5: 1. Viola Davis, The Help 2. Meryl Streep, The Iron Lady 3. Michelle Williams, My Week With Marilyn 4. Rooney Mara, The Girl With the Dragon Tattoo 5. Glenn Close, Albert Nobbs Let’s not belabor what we covered last week : Viola Davis could have gone the Mo’Nique anti-charm route and still won on talent and performance alone. But instead, she’s evincing both the humility of her role’s profile and her team’s broader insistence that people take The Help seriously, topics about which Oscar oracle Mark Harris had yet another terrific piece this week at Grantland: [A]n award to Davis for making the absolute most of an imperfect part in an even more imperfect movie with a terribly imperfect grasp of history would be the truest definition of a milestone: A mark along a path by which progress can be assessed, and perhaps also found wanting. Finally, we have a category with the kind of churning emotion and uneasy subtext that too much of this steadily room-temperature Oscar season has been lacking. “Category” is a little generous under the circumstances: It would seem to imply that among the rest of the nominees we can find anything more stirring than Weinstein mailing literally barely legal Iron Lady ads exhorting Streep for the Oscar win because, you know, it’s been 29 years. Not very charming! And for every pro-Streep pundit broadside there’s a pro-Davis reaction seemingly just waiting for it. Streep is going to have to press a lot of flesh in the next two weeks to overcome the charm-inflected reality that has sunk her hopes time and again for years now: It’s never about how you badly you want Oscar. It’s about how badly he wants you. The Leading 5: 1. Jean Dujardin, The Artist 2. [tie] George Clooney, The Descendants 2. [tie] Brad Pitt, Moneyball 4. Demi

Patton Oswalt Rounds Up Academy Snubculture For the Only Oscar Party Worth Attending

Thanks to the wonders of Twitter, we already know how Albert Brooks feels about this morning’s brutal Oscar-nomination snub. But how is the rest of the Academy’s snubculture faring? We may never know entirely, but at least their unofficial ambassador Patton Oswalt has the fan-fiction angle covered — and it sounds like this group has the Governors Ball beat. Join me for a drink at The Drawing Room, @AlbertBrooks ? Me and Serkis have been here since 6am. Tue Jan 24 15:22:50 via Twitter for iPhone Patton Oswalt pattonoswalt @AlbertBrooks See you later tonight. Might be out of booze — Serkis has Pogues on the jukebox & Fassbender just showed up in a pirate hat. Tue Jan 24 16:22:01 via Twitter for iPhone Patton Oswalt pattonoswalt @AlbertBrooks Oh shit — we’re DEFINITELY going to run out of booze. Charlize & Tilda just pulled up in a stolen police car. Tue Jan 24 16:30:59 via Twitter for iPhone Patton Oswalt pattonoswalt @AlbertBrooks Dude, GET DOWN HERE. Gosling is doing keg stands and Olsen & Dunst LITERALLY just emerged from a shower of rose petals. Tue Jan 24 16:41:17 via Twitter for iPhone Patton Oswalt pattonoswalt @AlbertBrooks Nolte & Plummer just drove past, mooning us. Serkis & Tilda are signing “Is There Life on Mars?” Tue Jan 24 16:44:21 via Twitter for iPhone Patton Oswalt pattonoswalt @AlbertBrooks Oops — Von Trier just pulled up in a pass van dressed as Goering. “Let’s go to Legoland!” With a boozy hurrah, we’re out! Tue Jan 24 16:46:44 via Twitter for iPhone Patton Oswalt pattonoswalt

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Patton Oswalt Rounds Up Academy Snubculture For the Only Oscar Party Worth Attending

Read Costumer Edith Head’s Amazing Dress Code for the 1968 Oscars

It’s hard to be obsessed with the Oscars sometimes because they’re often predictable, boring, and tolerant of things like Black Swan , but VINTAGE OSCARS is a whole different story. I could think about the discarded wedding dress Lee Grant wore for her Shampoo victory in ’76 for days. And I have. Even better now, the Academy has released a dress code that legendary costumer Edith Head wrote for the 1968 ceremony. It is cold, direct, and bossy. It is awesome.

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Read Costumer Edith Head’s Amazing Dress Code for the 1968 Oscars

The 10 Biggest Snubs, Surprises and Subplots of the 69th Golden Globes Nominations

Still reeling from this week’s installment of Oscar index , Movieline’s Institute for the Advanced Study of Kudos Forensics has had a rare Thursday open for business. Blame the Hollywood Foreign Press Association, the shadowy swag goblins behind today’s predictably headscratching slate of snubs, surprises and subplots also known as the 69th Golden Globe nominations . So far the Institute has chosen 10 worth investigating, but feel free to weigh in with your own as well:

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The 10 Biggest Snubs, Surprises and Subplots of the 69th Golden Globes Nominations